Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.

The Newcomb Art Museum of Tulane presents Marking the Infinite: Contemporary Women Artists from Aboriginal Australia, which offers a unique opportunity to appreciate the diverse practices of Aboriginal Australian women artists today. The exhibition features works by Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, and Gulumbu Yunupingu. Coming from remote areas of the island, these respected matriarchs and leaders use art to empower their respective communities.

Immersed in ancient cultural traditions, the presented artworks speak with individual voices to universal contemporary themes. Their subject matter range from remote celestial bodies and native flowers to venerable crafts traditions and women’s ceremonies. Each work is unique in facing fundamental questions of existence, asserting both our shared humanity and differences in experiencing and valuing the same planet. As a whole, this exhibition of contemporary women artists from Aboriginal Australia emerges as an evidence of the relevance of indigenous knowledge in the twenty-first century.

Contemporary Aboriginal Australian women’s painting emerged later than the men’s practice, attracting global attentio—especially since the 1990s. Since women began to paint later, they were exposed to a broader range of global cultures. As Hetti Perkins mentions in her catalogue essay for Marking the Infinite, “While cultural activity has always been central to the secular and sacred lives of women, art making in recent decades has offered a key means for women to also maintain their social and economic independence.”

Palaio Elaiourgeio presents Its Luminous Saying Must be Left a Conjecture, a large-scale installation by Eleni Panouklia. Throughout this site- and time-specific mixed-media intervention that is meant to be experienced at night, Panouklia (born in Agrinio, 1972) converts industrial ruins of Palaio Elaiourgeio (Old Oil Mill) of Eleusis into an evocative earthy soundscape of dark paths and inaccessible sanctuaries.

The installation begins and ends in the backyard of the derelict factory, and it consists of two cyclically communicating outdoor and indoor environments allowing individual and collective explorations. The work immerses the viewer in a contrapuntally structured experience of darkness by transforming the backyard of Palaio Elaiourgeio into a disorderly, pulsating landscape of powerful sonorous enclosure and combining that with a lonely ritual itinerary through the silent passageway of a long building, where an interactive event awaits each viewer. Together, the two environments seek to affectively advance both timely critical and timeless existential realizations through distinct bodily and reflective enlightenments, or, better yet, “un-concealments” of the wholeness of being in darkness.

Curated by Kalliopi Minoudaki, Its Luminous Saying Must be Left a Conjecture orchestrates the awakening of multisensory explorations through the creative collaborations with the sound designer Coti K., the light designer Katerina Maragoudaki, the photographer Vassilis Xenias, and the production organizer and design consultant Georgia Voudouri.

Gasworks presents A Body Reduced to Brilliant Colour, the first UK solo exhibition by the American artist Candice Lin. Born in Massachusetts in 1979, Lin makes work that engages with notions of gender, race, and sexuality by examining discrepant bodies, vibrant material, and disobedience. In A Body Reduced to Brilliant Colour, the artist explores how histories of slavery and colonialism have been shaped by human attraction to particular colors, tastes, textures, and drugs. Drawing from scientific theories, anthropology, and queer theory, Lin traces the materialist urges at the root of colonial violence.

The exhibition includes a low-tech installation of tubing, plastic and glass containers, porcelain filters, hot plates, and other hacked household objects; her work boils, ferments, distils, dyes, and pumps liquid containing colonial trade goods such as cochineal, sugar, and tea. Transforming prized, historically loaded commodities into a stain reminiscent of murder, feces, or menstrual blood, the exhibition speaks to these fraught histories of conquest, slavery, torture, and theft, while exploring what happens when materials so loaded with history and meaning are situated in new systems of relations.

The exhibition is accompanied by a series of events, including Eating the Edifice, an illustrated lecture/demonstration by the food historian and artist Ivan Day that will outline the evolution of edible table art from the early Renaissance to the nineteenth century.

From October 4 to 9, the Guerrilla Girls will operate a Complaints Department. Individuals and organizations are invited to Tate Exchange to conspire with the girls and to post complaints about art, culture, politics, the environment, or any other issue they care about. Throughout the week, a series of workshops and thematic discussions will be presented, encouraging participation and assisting the public in creating statements to post on rolling bulletin boards. The week culminates in a special public event documenting and exploring what has been collectively complained about.

Featuring forty-eight international female artists, the Photographers’ Gallery opens its new exhibition, Feminist Avant-Garde of the 1970s, wholly curated from the Verbund Collection in Vienna. “The exhibition highlights groundbreaking practices that shaped the feminist art movement and provides a timely reminder of the wide impact of a generation of artists.” Works in photography, collage, performance, film, and video by well-known feminist trailblazers such as Cindy Sherman and Martha Rosler will be on view, along with overlooked artists such as Katalin Ladik and Birgit Jürgenssen. In fact, the exhibition includes many artists from areas of the world lesser known for feminist art.

“Through radical, poetic, ironic and often provocative investigations,” these artists used their work to question identities, gender roles, and the sexual politics of the 1970s. The exhibition is curated by Gabriele Schor from the Verbund Collection and Anna Dannemann of the Photographers’ Gallery.

The three-day feminist music conference Listen returns this October with presentations, panel discussions, workshops, and live performances. “The Listen Conference provides a unique opportunity to engage in constructive discussion on ideas relating to gender, feminism, creativity, intersections within communities, writing, and performance.” Keynote speakers include the writer and feminist activist Clementine Ford and the New York–based performer and activist Alok Vaid-Menon (from the trans South Asian performance art duo Darkmatter).

Focusing on raising awareness and equality in the Australian music industry, “Listen” will cultivate “conversations from a feminist perspective around the experiences of marginalised people in Australia music.” Panels will encourage conversations on issues ranging from music making, the pros and cons of “call out culture,” race and sexism in music, and gender binaries in music and art, among other topics. The conference also features three nights of live music and movement-based performances, including experimental punk, Aboriginal mixes, dark techno, and poetry.

Love Relics at Nohra Haime Gallery features photographs and videos by the Colombian artist Adriana Marmorek that document the ceremonial burning of twelve treasured objects associated with love. Most notable is the burning of Relic #16 and Relic #17, both wedding gowns, “showcasing the destruction of these institutional flags.”

The project originated at the end of another exhibition Reliquia, for which Marmorek exhibited fifty-one donated relics or treasures that represented memories of love or loved ones. When the exhibition finished, the artist chose to burn several of the relics, “digging deeper into the concept of eternity and ephemerality.” A ceremony was conducted for the owners of the objects, as she burned each and filmed them. “Some treasures—of love, happiness, sorrow and anger—had associated memories so deep that they had replaced the physical and enveloped an intense spiritual being.”

In addition to the videos, photographs are also on view, “capturing a split second in time,” while mementos such as an appointment book, a box of condoms, a matchbook, and a bridal bouquet are engulfed in flames.